Roohi (2021)

Just tossing in one line as a disclaimer that the film doesn’t encourage superstition, is not a buy-out. Neither is the reliable Rao’s presence, usually a guarantee of quality. Sharma’s brand of dialogue delivery already feels jaded. Kapoor tries gamely, but never gets a break-out right till the end. The climax a real cracker. Finally, you get why the film was made. What a waste of an ending.

The blood-curdling banshee-wail that the titular female protagonist lets out in the climax of Roohi is ear-splitting all right, but it isn't exciting enough for filmgoers to sit up and respond to it in the way that they would to a more coherent clarion call. It is best to lay this ghost to rest and wait for a better deal.

At over two hours, the film could definitely do with a tighter edit. Apart from all the entertainment, the film promotes the concept of self-love and self-belief, which works to a certain degree, but the ending seems a tad bit convenient, haphazard and lacks the punch that one is fed right from the start. As for the music, the two main tracks – Nadiyon Paar (reprised version of Let the Music Play) and Panghat – that play out during the opening and closing credits are the highlights of the soundtrack mainly composed by Sachin–Jigar and stay in your mind even after the movie is over. Overall, the film remains true to its genre and packs a good dose of entertainment.